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SEALED MYSTERIES 




Explaining the Latest Card 
Mysteries and Spirit TricKs 
made Public for the First 
Time, with Directions for 
constructing' TricK Cards 



BY 





J 



Illustrated 
By Original Engravings in Line and Half-tone 



MASTER TECHNIC PUBLISHING CO. 






I 



TO THE FRATERNITY c ° 



^ 



«g 




W/ftOUR attention is directed to the fact that 
1 % the BURLING HULL PUBLICATIONS 
are not supplied to book stores or agencies 
nor any medium through which they may reach the 
outside public. 

These limited publications are restricted to sale 
through the recognized magical depots of America 
and Europe. 

As the contents never reach the general public 
the value of the material is doubly enhanced. 



Copyright, 191 1, by 
The Burling Hull Magical Studio 







CI.A298118 



INTRODUCTORY 

7J - ' He recent tendency toward Impromptu Magic is due largely to 
\& the increased opportunities for social intercourse, supplied by 
the numerous Magical Societies, at which magicians are wont to 
gather for the purpose of amusing and amazing one another, with 
feats in the higher form of Magic that appear inexplicable even by 
the known principles of Illusion. 

The ponlarity of such off-hand Wizardry is fostered by the pro- 
fessional, who is invariably called upon to offer an example of his 
ability so soon as his profession is known, and if forced to explain 
that he is without apparatus at hand he is looked upon as a poor sort 
of Magician, who cannot perform without mechanical apparatus. He 
is therefore stimulated to keep at hand, at least one or two impromptu 
mysteries. 

Of late years many followers of professional callings, such as 
Law, Medicine, Politics, Science, Banking, and a surprising number 
of the Ministry, have taken up the Art of Magic, realizing its value 
as a mental recreation aside from its fascinating entertaining quali- 
ties. Salesmen and traveling men find it a material aid to business. 
All these, prefer magical effects of a seemingly impromptu nature. 

In this volume, the first publication devoted to the higher form a 
of impromptu magic, the author and editor have endeavored to select 
only the finest and most subtle of the many tricks of this nature, of 
recent invention, which have never before appeared in print. 

The author, Mr. Burling Hull, who needs little if any introduction 
to magical students, owns the largest collection of card tricks in ex- 
istence, beside which, he has invented a series of over thirty tricks 
with Special and Mechanical cards, as well as numerous tricks in sleight 
of hand, with cards and other objects, entirely aside from his work in 
the line of mechanical and stage apparatus. This alone renders him 
better able to speak authoritatively on the subject', than probably any- 
one else, while his experience as the leading magical instructor of the 
East, enables him to deal with the subject in a manner which is most 
readily comprehensive to the magical student. Always original, Mr. 
Hull has added to the various experiments much that will improve 
them, as well as suggestions for the alteration and improved con- 
struction of the majority. 

Care has been taken to place the credit for the various inventions 
where it is due, a feature which is sadly neglected by so many present 
dav writers. 

SYLVESTER S. WALTERS, Editor. 
New York. 



THE GOBLIN ACES. 

One of the most effective card tricks for close work is a varia- 
tion of the "Four Ace Trick" known under the above title. It is a 
trick which I strongly recommend the reader to construct and work. 
It will go well in club work also. 

Effect : — Performer removes the four Aces from the pack and 
places them face up in a row, with a space of about four inches be- 
tween each card. He then deals one card (from the pack) facedown 
on each Ace. This operation is twice repeated so that there are three 
indifferent cards face down on top of each Ace. The performer in- 
troduces a pair of dice and asks a spectator to select one. The specta- 
tor makes his choice and is invited to throw same several times. This 
he does with the result that several different numbers are thrown, 
thereby proving that the dice is not "loaded" to throw any particular 
number. 

The spectator is now asked to toss the die to determine which 
of the four piles of cards are to be used. Whatever number is 
thrown, the performer selects that pile and asks spectator to place 
it in his breast pocket. Performer returns the remaining cards to 
the pack and handing it to spectator asks him to blow upon the pack. 
As he does so, performer interrupts him in an excited manner with 
the exclamation, "Stop ! Not so hard or you will blow all the Aces 
out of the pack. Just as I feared, you see they have left the pack." 
Running the cards from hand to hand or spreading them out on table 
the Aces are nowhere to be seen. Performer requests spectator to 
remove the four cards from his pocket and to his surprise finds that 
he holds the four missing" Aces. 

A most effective trick for drawing room work it is also well 
adapted for platform and club work. 

It can be used to advantage in any program as it is distinctly 
novel and away from the usual card tricks in its effect. 

Secret : — Three additional Aces are required, and on the backs of 
these are pasted three indifferent cards face outward. The four un- 
prepared Aces are also used. 

Place the three prepared Aces which we will say are of the 
Spades, Clubs and Diamonds Suits and one unprepared Ace, say Ace 
of Hearts, in various parts of pack, but not within twelve cards of the 
top of pack. 

Arrange the remaining unprepared Aces as follows: One Ace 
the third card from top, a second Ace the seventh card from top, and 
the remaining Ace the eleventh card from top of pack. 

Operation :— Holding - pack face up remove the Aces first men- 
tioned (three prepared and one unprepared) and lay on table, or if 
working from platform stand cards upright against some object or as 
I prefer set in separate goblets, face toward audience in following 
order : 

i A | B C D 

PREPARED PREPARED UNPREPARED PREPARED 

The pack is now turned over and from the top of the pack one 
card at a time is dealt face down on each Ace (see description above) 
starting at A, which causes the four Aces to come together at C. 

4 



The dice which are offered to spectator are both prepared so that 
the four spot and one spot faces cannot come upward. This is accom- 
plished by adding one spot to the four spot face and two spots to 
the one spot face changing them to five and three spot faces respec- 
tively. 

No matter what number is thrown it is made to indicate the pile 
of unprepared Aces in the following manner : If Two is thrown 
begin at right counting D as One and C as Two. If Three is thrown 
start at left and you will arrive at C. If five is thrown count from 
A to D and as you cannot go beyond D you continue counting' in 
the opposite direction which brings you again to C at Five. For Six 
you count from D toward A and returning arrive at C. 

This selected (?) pile is placed in spectators pocket and the re- 
maining piles gathered and place on the pack which is then cut to 
bring these cards near center. The trick proceeds as described and 
when the pack is exhibited, the trick "Aces" being faced in opposite 
direction, only the spot faces can be seen proving their evanishment. 

Improvements : — Little improvements which have been added are 
in the arrangement of the Aces at third, seventh and eleventh position 
which enables the cards to be dealt as in card games instead of three 
at a time as pre\ T iously used. This little improvement adds consid- 
erably to the effect. ' 

Another is in employing two dice. If a single dice is introduced 
it is subjected to some suspicion. By throwing two dice on table 
and requesting spectator to throw same several times as a test, the 
variety of numbers thrown will quickly eliminate suspicion from the 
dice. 

Construction : — Procure three additional Aces and soak these in 
warm water for three hours. Then peel the thin layer of paper which 
has the Ace faces from the cards. Press between sheets of blotting 
paper to remove surplus moisture and coat the backs with thin 
mucilage. Place these on backs of ordinary spot cards and press with 
a hot iron till dry. 

To prepare dice: Drill a small hole in the center of the four 
spot face of die and two holes in the one spot face. Paint these with 
a little black enamel. Accurately constructed dice for this trick can 
be obtained from most magical firms. 

WARRINGS CARD PRINCIPLE. 

Effect : — A card or cards removed from pack by spectators are 
replaced in pack in much the same manner as when it is intended 
to employ the pass except that no pass is made. The cards are then 
cut several times for the purpose of losing the location of the card or 
cards selected. At any time the performer may secure possession 
of the selected cards. 

One of the cards may be returned to pack and pack cut several 
times before the next card is placed in pack yet the cards may be 
brought together at conclusion of trick. 

Secret: — One of the cards is split at one end and a small slip of 
wood is inserted so that it projects about T /g inch beyond edge of 
card, the separation in card being then closed and secured with a 
little glue, (See Fig. 2). The card thus prepared is returned to pack 
near center. 
5 




Fig. 2 

Operation : — The pack may be first shuffled if desired. A card is 
selected, pack is held in left hand so the clip projects on side nearest 
the performer. Performer places right hand over pack with fingers 
touching front edge and thumb against the little projection of the 
prepared card, and lifting same up, he cuts the pack at this point 
having spectator return card. Several cards may be returned one at 
a time with a number of genuine cuts being made between the return 
of each card but each time the pack is cut for a card to be returned 
the cut is made at the same point by means of the little clip or pro- 
jection. Several cuts may be made by spectators if desired but this 
requires care in handlings so that they take hold of cards crosswise 
and not lengthwise. The final cut is made by the performer and is 
made by means of clip so that all the cards are lifted off the selected 
cards and when pack is then squared up the selected cards are on 
the top of pack within easy control of performer to produce as desired. 

SATAN'S SECRET. 

This trick is an improvement on the foregoing trick which enables 
the spectator to supply his own pack of cards with the same results. 
This is in the form of a small metal clip which may be attached to 
any card in a few seconds and removed and secreted at the conclu- 
sion of 'the trick. 

The idea was introduced by M. D. Leroy the Boston Magical 
Dealer, and Mr. Leroy adds an effect of his own which employs three 
envelopes in a novel manner. 

However a more perplexing series of effects may be accomplished 
by the system hereafter described with the advantages that the cards 
may be operated immediately upon taking them from the audience 
without any fumbling or delay as required in attaching a clip and 
also in that the cards in most instances may be shuffled. 



"NOVEL CARD DISCOVERY." 

The credit for the origination of the principle of converting any 
pack into a "Stripper" pack or Long and Short pack and the effects de- 
signed involving this idea I must take to myself. The trick will be 
found advertised in Sphinx for March, April and later issues for the 
year 1908. 

As evidence of the effectiveness of one of the tricks possible 
with this idea, a clipping from the Brooklyn Eagle is inserted in 
abridged form below. 

"Most convincing of all however was a little feat performed by 
way of diversion at the end of our impromptu "Seance" and. though 

6 



it held no spectacular features yet this very simplicity made it appear 
more uncanny than even the "Slate Experiments." 

"Mr. Burling-Hull called for the pack of cards which your cor- 
respondent had brought with him. Taking a position on the oppo- 
site side of the little glass top table this modern Yogi had the writer 
shuffle the pack and remove one of the cards. During these opera- 
tions Mr. Burling-Hull never once glanced toward the writer but 
seemed totally occupied in toying with a small skull setting on a 
taboret at his right. At this point he turned and taking the pack of 
cards between the extreme tips of his thumb and finger placed them 
over the mouth of a glass goblet which he had previously used for 
the little slips of paper. He then asked that after thoroughly memo- 
rizing the selected card, it be placed on top of the pack of cards, and 
the pack "Cut" once or twice to mix the cards. Taking the cards he 
settled the cards into an even pack with elaborate slowness using only 
the finger tips, and asked that the cards be again shuffled. This done 
he again took the cards and dealt them face down on the table very 
rapidly then gathered them up and began again asking the writer 
to keep the card fixed in his mind. 

While dealing the cards his eyes were fixed upon the ceiling, 
suddenly he stopped and snapped out "Seven of Diamonds, Don't 
deny it!" 

Your correspondent had no intention of denying anything but a 
little startled by the sharp tone of voice managed to mumble a quick 
affirmative. Without looking at the cards our 20 Century Mahatma 
turned over one of them which proved to be the selected 
"Seven of Diamonds." 

The foregoing description is thoroughly accurate and illustrates 
the possibilities of the principle applied in the form of an individual 
trick for impromptu presentation. Below are offered two methods 
of applying the idea in combination with any card trick in which 
selected cards are to be used, the novel principle furnishing the means 
of securing the selected cards after they have been lost sight of in the 
pack — .the method of using these cards being left to the performer. 

Before a critical audience at close quarters it is frequently desir- 
able to emplov an unfamiliar method of securing possession of selected 
cards especially when members of the company are acquainted with 
the orthodox methods. 

Effect One : — A borrowed pack of cards is thoroughly shuffled and 
two cards selected by spectators. The two cards are placed on top of 
pack, the pack cut bringing the cards to the center of the pack and the 
pack shuffled. 

The performer can instantly produce the cards from the pack yet 
he has no idea as to the location of the selected cards nor is he ac- 
quainted with the suit or denomination of the cards previous to their 
production. 

Effect Two : — Several cards are selected from a borrowed pack 
of cards. Cards are returned to pack and pack shuffled by spectator. 
The performer simply ruffles the pack between his fingers and in- 
stantly locates and secures the selected cards. 

Secret One: — Place a pellet of conjuror's wax on the right thumb- 
nail. Borrow any pack and allow two cards to be selected, preferablv 
7 



by two spectators seated some distance apart. Have one card placed 
on top of pack and while walking toward second party smear some 
of the wax from the thumb nail on the back of the card. Take the 
second card and place it on top of the first card moving it so it laps 
over edge at one end (See Fig-. 3). After shuffling cards take pack 
by one end, run fingers along edge and the selected cards being wider 
than the rest of pack will be drawn out of pack as in "Stripper" 
cards, or wide and narrow cards. 

Secret Two : — In this case the card above or below the selected 
card, is waxed just before card is returned to pack in each case. It 
is then only necessary to press the pack together so cards will adhere 
and hand to be shuffled. See that cards are shuffled in old fashioned 
side shuffle and not the dove-tail shuffle as the latter might separate 
cards. Give as your excuse for prefering the side shuffle, that the 
dove-tail shuffle destroys the spring of the cards. 

Step back some distance from your audience after pack is returned 
to you and ruffle the cards very slowly and you will hear a sharp 
snap when you reach the selected card or cards, which is due to the 
sudden separation of the cards which were stuck together. Cut the 
pack at this point placing" the lower half on top and you have one of 
the selected cards on the top of the pack and one card on the bottom 
of the pack. To cover the snap of the cards make a few sharp re- 
marks while ruffling cards. 




Fig. 3 

For those who might may be interested in the trick described at 
the head of these descriptions I will explain the operation. 

In toying" with the skull on the taboret I secured a little piece 
of "conjuror's wax" which was concealed there and flattened it into 
a tablet or wafer on the tip of my right forefinger. In taking the 
pack from the press interviewer, I did so between thumb and finger 
with finger ujnderneath which pressed the wax on the bottom card 
face. I placed the pack on the mouth of the goblet presumably to elim- 
inate suspicion but actually to prevent the wax from coming in con- 
tact with the table or anything to which it might adhere. When the 
selected card was placed on the top of the pack and the pack cut the 
waxed card was brought directly over the selected card, where-upon 
I immedately took the pack and evened up the edges and pressed the 
pack to secure the two waxed cards. The pack was then shuffled by 
the newspaper man and returned to me. I began dealing the cards 
upon the table till I felt the two cards which were secured together 
which I could easily tell by the weight. I continued dealing three 
more cards then stopped and gathered the cards up and at the same 
time took care to get sight of the selected card which I noted to be 
the Seven of Diamonds. I then dealt the cards again on table face 

8 



down as before keeping my eyes turned upward till I again reached 
the card when I announced the name of the card and on being as- 
sured it was correct, turned over the double card. While talking I 
gathered up the cards, separating the double cards and scraped the 
wax off the faces. 

THE MONTE CRISTO CARDS. 

This ingenious little novelty is the idea of Henry Hardin. Un- 
fortunately the trick is so short, can only be performed once and re- 
quires such care in handling" that it is very inconvenient to handle 
especially as the pack must be discarded after one selection of the card. 

Effect :— A pack of cards is introduced and to demonstrate that 
it is a bona fide pack it is ruffled with the face of the cards toward 
audience. A spectator is then requested to raise one end of the pack 
and glance at a card. The performer is at liberty to announce the 
name, as the card, regardless of contrary appearances, was forced. 

Secret : — The pack is composed of 40 cards (no picture cards being 
included because of the expense of printing" the additional color 
plates) thirty-eight of which are all Five of Diamonds on one half of 
their faces and indifferent cards on the other end. One full faced 
indifferent card is placed on the face of pack as a blind, and 
one full faced Five of Diamonds within the pack; When exhibiting 
the cards only the indifferent end of the cards are exposed but in 
offering pack toward audience the ends are reversed so that the forc- 
ing end of the cards only can be raised. Therefore the Five of 
Diamonds is invariably forced upon, the spectator. 




Fig. 4 

In the advertisements it was claimed that the pack could be tossed 
among the audience with the same result but the risk of spectator 
selecting the wrong end of pack or of withdrawing" a card or opening 
the pack beyond the exact centre makes this impractical. 

To overcome the principle disadvantage — that in turning up an 
end of the pack the spectators finger is bound to run over the edge 
of cards and slightly ruffle cards sufficiently to expose more than one 
of forcing faces — I suggest the method used in the old method of 
The Cards Mysterious before the Improved Cards Mysterious (Copy- 
right Jan. 1909) was placed on public sale. This method had the 
long cards as forcing" cards and it was necessary to turn up one end 
of the pack. To prevent the cards from running past finger, have the 
spectator insert a penknife in pack and thus lever up the card so 
designated which prevents more than one card being seen and acts as 
a safeguard from the possibility of a card being withdrawn. 

9 



In the case of the Cards Mysterious the card may be removed 
and inspected as well as the full face of the cards above and below 
the selected card, no false cards being used. The trick in this case 
may be repeated, forcing a different card. 

SUBSTITUTE FOR PASS. 

This clever idea can be employed in place of the pass with con- 
siderable effect. Several cards selected from, and returned to the pack 
are shuffled in a manner which leaves no question of the fairness of 
the operation, yet performer can at any moment produce the selected 
cards. 

Secret and Operation : — Secure some of the transparent paper 
"Stamp-hinges" sold at all stamp collectors depots. 

Take two of the cards from the pack you are about to use (by 
carrying a few hinges in your pocket any borrowed pack can be made 
available) and placing them together paste two of the hinges over 
the edges at one side forming a sort of folio. 

Place hinges about two inches apart. Place this arrangement in 
your pack and after having cards selected, open the pack sideways so 
as to separate or open the hinged, cards much as you would open a 
book, and have cards placed between the hinged cards. Close pack 
and give same a thorough shuffle yet you will find your hinged cards 
will keep the selected cards enclosed and undisturbed. 

Draw your right thumb over the back end of pack slightly ruffling 
same until you strike an obstruction which will be the hinged cards. 
Cut the pack at this point bringing cards to bottom and it will be an 
easy matter to open the hinged cards and remove the selected cards. 

N. B. The author and editor are not aware of the origin of the 
above trick which is therefore not credited to the originator. The 
►trick in the above form is considerably superior and the method of 
working improved by the author making it a very practical trick. 

HOUDIN'S DREAM IMPROVED. 

This trick, credited to Henry Hardin, is little appreciated owing 
to a few difficulties not overcome or provided for in the original in- 
struction prepared by the inventor. The original directions call for 
a previous arrangement of the cards, which I have eliminated so the 
trick may now be operated from beginning to end in full sight of 
audience and with any pack the spectators supply, which pack is im- 
mediately used without retiring from view. I may add that with the 
following original method of working the trick I have mystified prac- 
tically all of the leading magicians I have come in contact with, al- 
though I know these same parties are acquainted with the trick, which 
conclusively proves the old rule that it is "not what you do but how 
vou do it." 

BURLING-HULL METHOD. 

Performer offers to attempt an experiment in Mind Reading 
and calls for a pack of the spectators' cards. Remarking that 
he finds certain cards fix themselves upon the subjects mind 
more strongly than others, he, upon receiving the pack sorts the 
paste boards into three piles two of which he places together and has 
the spectator shuffle. A card is then selected and immediately re- 
turned to pack which the spectator again shuffles. 

10 



The performer has absolutely no idea as to the location of the 
selected card nor does he know the name of the card. The performer 
now deals the cards slowly face upward upon the table and simply 
requests the spectator to think the word, "Stop," the moment he sees 
the card. Performer glances at cards now and then while slowly 
dealing cards upon table till the card is reached, when he exclaims 
"Stop !" which coming at the exact moment that the spectator pro- 
nounces the word mentally, is decidedly startling to the latter. The 
performer announces the name of the card, hands it to party selecting 
it and repeats the trick. 




Fig. 5 



Secret : — Inspection of a pack of cards will show that the cards 
can be divided into three classes : — Cards which have an uneven 
number of pips (1, 3, 5, 7, 9,) and have a pip in center that points 
upward also the 6 and 8 which have two central pips pointing upward 
(see illustration, note arrows). Cards such as picture cards, not pos- 
sessing this peculiarity but which are unevenly printed so. that the 
index is nearer one side or edge of the card, as in the Queens of Hearts 
and Four of Spades in the illustration. Cards which have none of 
these peculiarities or which are at all difficult to class at a quick glance. £ 

Of these classes the first two are used and the last discarded. It 
is necessary to arrange all the cards with center and central pips point- 
ing upward and all the narrow margined picture cards with the defec- 
tive index upward (in upper left hand corner) so that when a card is re- 
moved and the pack turned around before the card is returned, that 
card when shuffled back into the pack is easily distinguished at a 
glance, as pips point in the opposite direction or in the case of picture 
cards, the narrow space (between index and edge of card) is at the 
opposite end from all the other cards. 

N. B. In the old method it was required to secure the cards in 
advance and arrange same — also there were so many methods of find- 
ing the reversed card by means of careful inspection, that it complicated 
the trick too greatly. Therefore I have carefully laid out a logical 
manner of presenting it, simplifying the trick and subtlising the effect, 
covering every difficulty. I give the manner of working just as I teach 
it to rny pupils, and ask the student to carefully note the ruse by 
which I am enabled to operate the trick from the moment I take trie 
pack to the conclusion of the "experiment", in plain view of all with- 
out suspicion. Also to note that I have eliminated the difficulties 
by using only the two best methods of reading the cards and dis- 
carding the difficult cards, as well as furnishing a logical method of 
concluding the trick so that even the initiated are misled as to the 

11 



means of discovering the card (doing away with the former plan of 
inspecting the card in a plainly apparent manner). 

Operation : — In dealing out the cards under pretext of selecting 
suitable cards, I place all those cards with pips pointing upward, in 
one heap, all those pointing down (or with narrow margins down- 
ward) in a second heap, and all those not suitable to use I place in 
a third heap. 

To do this I take each card singly and lay it on table in the posi- 
tion I decide upon for each class of card. I then gather up the last 
mentioned pile and discard it, pick up the second pile (containing the 
inverted cards) and while squaring up packet I turn it around, and 
lay it upon the first pile. I have thus arranged all my cards in one 
direction without suspicion. I have the cards shuffled and a card 
removed. I take pack and hold it crosswise before me one end of 
pack in fingers of either hand, so that at will I can offer either end 
of pack to spectator by spreading cards with either left or right hand. 
I offer him the pack so that his card will enter it reversed and have 
him shuffle the pack once more. I deal the cards upon the table 
spreading them well out in a slow easy manner. I lay out several 
cards while not looking at them, then glance at cards and read three 
at once, then catch up till I read the one in my hand and turn away, 
which misleads the careful observer. If the card should slip my atten- 
tion I would gather them up, calmly proceed to deal them out again 
asking spectator to think a little harder. 

The trick is concluded as described. Pick up located card and 
reverse it under cover of exhibiting it to company and when replaced 
your pack is ready for a repetition. 

Additional note : — A little ruse by which I puzzle those who ask 
me to use all the cards. I agree to do so remarking that it is more 
difficult, and place the cards previously discarded on the rest of pack. 
I then allow a card to be selected from the top (third class cards) and 
force party to return it among the arranged cards. I then turn pack 
over and proceed to locate card which is quite easy as it will be 
the only card which has no center pips ( such as 10 — 4 — 2 — or one 
of the Diamond Suit) or a picture card with perfectly even indexes. 

THE THAYER CARD RISING TRAY. 

The latest attempt to simplify the Rising Card Trick and enable 
the performer to eliminate the concealed assistant as well as to render 
the trick more certain by placing it under his direct control, is the 
Card Tray designed by F. G. Thayer, a g-entleman, whose work in 
Magical Woodcraft has earned him considerable reputation. 

This is in the form of a neatly turned and polished wood tray 
some 10 inches in diameter, the corner slightly sunk and covered with 
cloth. 

The necessary threaded cards are placed just back of the edge of 
the tray, the thread leading over the edge and through the cloth cov- 
ered center of tray and winds around a drum shaped spindle concealed 
in the interior of the tray. With the tray in place on table or stand, 
the trick proceeds in the usual manner and in bringing forward the 
tray the hand which holds the regular pack of cards takes the back 

12 



edge of the tray and secretly gathers the threaded cards onto the 
back of the regular pack. 

A goblet which it is well to have setting on the tray, is exhibited 
and placed upon tray and the cards within goblet. The performer 
holds tray in one hand by the edge, and one of his fingers operates 
the chased edge of the drum causing it to revolve and wind up thread, 
with the result that the cards rise from the goblet in the approved 
manner. 

The trick is an excellent investment for the amateur or club 
performer who is usually denied the advantage of a trained assistant. 

NEW CHANGING SPOT CARDS. 

Credited to Theo. De Land, Jr. this card changes its pips from 
Clubs to Spades. The trick is printed upon two pieces of celluloid, 
one white and the other transparent. The transparent celluloid bears 
half of Spade pips and Club pips at different ends and the opaque 
celluloid bears the missing parts of the pips so that the lower portion 
of the Club pips cover the upper portion of the Spade pips when 
in position. By sliding the transparent celluloid downward the posi- 
tion of the half pips are transposed bringing parts of the opposite suit 
pips into view. 

To my mind the trick is rather clumsy as the two pieces of cel- 
luloid must be picked up together and held in place, then covered 
during the change and then carefully laid aside to prevent exposure. 
The regular changing pip card which may be taken from pack, oper- 
ated with one hand and replaced in pack or tossed aside, is far more 
practical and also appears more like a card. The new trick is inter- 
esting as a novelty but I would suggest that the face of card be 
printed on the matt side of the celluloid to prevent the blurred print- 
ing which the card now shows and it will be found that the gloss 
will be given by the transparent celluloid. 

THE PHOTO SPRITE 

Effect : — An envelope is exhibited and a plain sheet of photo- 
graphic printing paper (sensitised gelatine paper) is placed within 
and the envelopes left with a spectator. The spectator is now al- 
lowed to select a card and requested to place it against the envelope 
he holds. Upon opening the envelope a picture of the card appears 
printed upon the paper within. 

Secret : — The origination of the trick is claimed by a New York 
amateur magician, but like many another ambitious "Inventor" fondly 
hoping to astonish the more experienced magicians, this gentleman 
was not aware that his "Invention" is very well known to magic 
under the name of Henry Hardin's Envelope Trick. The latter part 
of the trick is the same as used scores of times, so the trick has 
just been dressed in a new name without the addition of any improve- 
ment or original idea. 

The envelope is prepared by pasting the back part of another 
envelope inside so the mucilaged flaps lie over each other and a sheet 
of paper bearing a photo of card, placed between the envelope backs 
before securing. The card is of course forced and a duplicate piece of 
paper placed in the front compartment. The trick proceeds and the 

13 



end of the envelope being torn off, the performer inserts his finger 
into the back compartment and draws out prepared paper bearing 
photo. 

THE SEALED LETTER TEST. 

Explanatory : — The following is the correct explanation of Reading 
of sealed writings described in "Behind the Scenes With Mediums" 
by David P. Abbott but of which the author does not explain the 
secret or operation stating that he is "under promise not to reveal the 
secret. The secret has been known to the author and editor of the 
present volume for some years but to prevent error the secret was 
purchased again immediately upon the publication of Mr. Abbott's 
book. Being under no obligation, the full explanation is given here 
for the first time publicly. To make the matter intelligible to those 
who have read the description of the trick as Mr. Abbott describes it 
an extract of the description is taken from "Behind Scenes, etc." and 
the explanation is given in the language of the author Mr. Abbott. 

Following this, is a vastly superior Letter Test, undoubtedly the 
finest and most practical and finished conception of the kind in exis- 
tence, designed by Burling Hull who is known as a creator of "Spirit- 
ualistic" effects. The trick was used in a modified form by Frank 
Cooper, considered the finest independent "Mystic' ; in New York who 
was a close friend of the inventor, but the trick as treated in this 
book is for presentation on stage, or lyceum platform. — Editor. 

EXTRACTS "BEHIND THE SCENES." 

I now step to the writing" desk and bring" forward some envel- 
opes and slips of paper. I hand an envelope and a slip of paper to 
the lady, asking her to write plainly on the slip of paper some ques- 
' tion about her future which she would like to have answered. I ask 
her to hold the paper in her left hand, in such a manner while writ- 
ing- that neither the audience nor myself can in any manner see.w^hat 
she is writing. As she thus holds the back of her hand which con- 
tains the paper towards us, it effectually conceals her writing. I pay 
no attention to her while writing, except an occasional glance to see 
that she complies with my request. 

As soon as she finishes writing, I request her to fold the paper 
in half. This she does. I now request her to fold it in half the 
other way and when she does so, I ask her to place the same in the 
envelope herself and to seal it herself. When she has all ready, I 
direct her to place it in her own pocket and keep it there until after 
I have read it. I in no way touch it. 

EXPLANATION OF THE EFFECT DESCRIBED. 

I will now give the principle and explanation of the method used in 
reading the writing of Lady Number One, which I read second but 
which was written first. 

The principle in this case is to obtain a carbon copy of what she 
writes, unknown to any one, It is intended as an improvement on 
what is known in the world of magic as the "Anna Eva Fay Pads." No 
pad is used ; but by a little preparation and a neat little sleight that has 
never yet been noticed, the same result is obtained with certainty. 

14 



The secret lies in the envelope which I first give the lady with 
the slip of paper, which is prepared to receive a carbon impression 
within it. 

I will now give the method of preparation of this envelope, and 
then I will give the neat and unnoticeable sleight by which I obtain 
possession of it after it has received the impression. 

I prepare some envelopes as follows : — I use small, very thin 
envelopes. I also use carbon paper of the very finest grade, so that 
the merest touch will give an impression. I cut this paper into pieces 
that will just fit inside the envelopes, I then place these pieces in the 
envelopes with the carbon side towards the back of the envelopes. I 
place in the same envelopes back of this carbon paper^ a sheet of white 
paper a trifle stiff, such that will readily take a carbon impression. I 
now seal the mere tip of the flaps of these envelopes. 

I arrange the envelopes as follows: — Intake a thin sheet of paper 
the same- size as an envelope, and place it on top of- a prepared en- 
velope. I place under the prepared envelope, an envelope that is 
not prepared.. This makes a set. I arrange two or three of these 
sets, one on top of the other, and come forward with them in my 
left hand like a pack of cards. I also bring a sharp-pointed hard lead 
pencil for the lady to write with. 

I ask her to be so kind as to think of some question about her 
future that she would like to have answered, and when she has done 
so I say to her, "Here is a slip of paper and an envelope." At the 
same time I take off the' top or prepared envelope with the slip of paper 
on it in position, with my right hand. I say to her, "Take this in 
your left hand and hold it as I show you, so that no one can see 
what you are writing." As I say this I illustrate to her how she is 
to hold them, by placing them in position against the palm of my left 
hand, but holding them while so doing with my right. I now say, 
"Hold your hand up this way, so that none of us can see through 
it and see what you are writing." I see to it that she takes it in the 
proper position as. she begins to write. I now say, "Write plainly, 
and when you have finished double the paper in halves." I appear 
not to watch her while writing ; but in reality, I watch her closely 
enough with occasional glances, to see that she complies with all the 
conditions. This is where the skill of the performer comes in. He 
must have had enough experience to be certain of himself, and to 
act with perfect composure and self-assurance. I always prefer a lady 
of proper temperament for this, one that will be in earnest and try to 
follow my instructions. I generally select a married lady for this, 
but there is no trouble in selecting proper persons. 

As the lady has no idea of what I intend doing, and as her mind 
is taken up with thinking of a question to write and also in listening 
to my instructions she naturally leaves the slip of paper on the en- 
velope while writing. I have in no way announced what is to follow, 
so she thinks nothing of the matter whatever ; or else seems to think 
the envelope makes it easier for her to write on the thin slip of paper. 
I have never yet had one person remove the slip, nor have I experi- 
enced the least difficulty in this part of the experiment. 

As soon as she completes the writing, just as she doubles the 
paper in halves, I reach and take the envelope out of her hand with 
15 



my right hand. I say nothing about taking it, I just merely take it 
as a matter of course. As she does not know what is to be done and 
as she is busy holding- the paper and Listening to my Instructions as 
to how it must be folded, she makes no objection to this; in fact she 
does not appear to notice it. It would seem that she unconsciously 
thinks I am helping' her in the matter, and that she is centering her 
attention on the slip of paper which I am careful to touch in no way ; 
and thus in a few moments I doubt if she could tell that I had ever 
taken the envelope out of her hand. 

As I take the envelope from her, I am busy talking' to her and 
directing' her how to fold the paper again and again ; and this takes 
all of her attention, and also that of any of the spectators who may 
be closely watching as. However, as a rule few of the spectators 
ever watch her closely, for the reason, that I have announced that no 
one must see what she writes ; and they naturally desire to help 
keep the writing secret and thus help the experiment along. 

Neither the lady nor any of the spectators ever see what I really 
do. W nat I am doing is this : while directing the manner of folding, 
as I take the envelope from her I bring' my right hand back to my 
left ; and without pause of any kind I leave the prepared envelope 
with the impression in it under the pack, carrying back in my right 
hand with the same action the unprepared envelope from the top of 
the pack. I here use what is called by magicians "misdirection." I 
do not look at my hands at all while making this motion, but w r atch 
the lady intently as she is folding the paper. The spectators invaria- 
bly look where the perf-ormer looks, if they look at all. This move 
has never yet attracted the least attention. 

The moment she has the paper properly folded, I say, "We will 
now place it in the envelope and seal it." I open the envelope with 
the fingers of my right hand as if intending to help her, then sud- 
denly changing my mind I say, "Or you just place it in the envelope 
and seal it yourself." As I say this I hand her the unprepared en- 
velope. She proceeds to properly seal the envelope, after which I 
instruct her to place it in her own pocket if she has one, and retain 
it until I shall have read its contents. 

After reading this explanation, it may not seem to the reader as 
effective as I have pictured it. I can only say, study the directions 
carefully and give it a trial, and you will soon be convinced. There 
is nothing more deceiving than a g'ood sleight neatly executed, such 
as the exchange of envelopes. The audience is not looking* in the 
direction of one's hands to see the sleight, but are keeping their eyes 
on the slip of paper ; and in fact, they have temporarily forgotten 
the very existence of the envelope, which, so far, appears to have, 
performed no part. They do not know what is coming or what to 
look for, and I am sure my spectators would afterwards assure one 
that neither the slip of paper nor the envelope ever left the 
writer's hand at all. 

THE BURLING HULL IMPROVED LETTER TEST. 

Introductory : — The following is an improved version of the fore- 
going Letter Test designed to render it more subtle, and by eliminating 

16 



the sleight which that trick requires I have placed the effect within 
the power of the most unpractised performer to execute successfully. 
I do not wish to immodestly praise my own contribution to this line 
of work but ask that the reader follow the improvements described 
and then judge of its superiority. 

Effect: — There are just two weak points in the Letter Test; first 
that the envelope offered the writer is sealed, which, while it may 
pass unnoticed, would not escape the inquisitive sceptic in many cases, 
second the exchanging sleight which is easy enough for a magician 
but requires more personal address than is usually possessed by the 
neophyte. These I have by the means described hereafter entirely 
eliminated. 

The effect of this improved version is much the same as the fore- 
going, except that the envelope is opened, a slip of paper removed from 
inside the envelope (far more natural than having envelope sealed) 
and the paper and envelope handed to sitter with instructions to write 
a short inquiry upon paper. The sitter should be instructed that as 
soon as the question is written, the paper must be turned face down 
upon envelope so that it will be impossible for the performer to see 
the writing when he returns. This gives an added excuse, or let us 
say reason, for the envelope and also prevents party from returning 
the paper to envelope and sealing" same, which, when performer is 
operating several at a time, is quite possible to happen. 

The trick proceeds in the usual manner, except that even the best 
posted magicians who have watched me work the trick believed I 
employed some other principle because the envelopes are plainly 
empty and no exchange sleight was used at any point. 

Secret: — The preparation of the envelopes is entire!}' different 
from that of the previous one, double sided carbon paper is used 
and the working is entirely different. The envelopes at hand, the 
backs, or part which bears the address ordinarily, of three, must be 
cut away from the rest of the envelope leaving the sealing flap attached. 

These are slipped inside three different envelopes and after placing 
a slip of carbon paper between the double backs, the flap of the upper 
is moistened and secured to the lower. Thus prepared the envelope 
is apparently empty, and inside of each I place a slip of thin paper. 
I also place an extra slip in one of the envelopes. 

Operation : — I place the three prepared envelopes on top of 
four unprepared envelopes and I face these envelopes in the oppo- 
site direction to the three on top. The envelope containing two 
papers is second from top. 

I open one of the envelopes and draw out a slip of paper in such 
a manner that the inside can be seen, and placing the paper on back 
of envelope, I place it in party's left hand and a hard lead pencil in 
his right hand, with instructions for writing. I then remove one of 
the papers from the envelope which contains two papers and place 
paper and envelope in the hands of a party just one seat removed, or 
better yet, a person seated just opposite the aisle in the same row. I 
then leave these parties and instruct a third party in preparing a 
writing, keeping my eye upon the first two so that the moment they 
turn their papers over as instructed I will know they have finished. 
I return and explain that care must be taken in folding papers just 
17 



as I instruct. Taking the first party's envelope, I remark, "I had an 
extra paper in one of these envelopes to show the method of folding-," 
looking- in envelope quickly, then taking second party's envelope I 
of coarse find the paper and remark, "Ah, here it is, I will show you 
with this." I place pile of envelopes (which has the two prepared 
ones on top remember) under my arm in a natural manner to give 
my hands more freedom in folding paper. After folding paper I take 
envelopes from under my arm but with the pile reversed, that is with 
the unprepared envelopes on top and opening the uppermost envelope 
I slip the blank paper inside just to illustrate my instructions for 
placing papers in envelopes. I then hurriedly hand the two upper 
envelopes to the parties and hurry off to my third party. Thus I 
have exchanged the envelopes in a manner that even the initiated 
cannot detect the operation, absolutely no sleights or "Moves," only 
the most natural actions followed. 

My method with the third party is generally shorter, merely tak- 
ing the envelope for a moment to illustrate the method of folding 
and to relieve th party of the envelope. I rest hand holding the 
envelope on top of the pile and no matter which way paper is folded 
I pretend it is wrong and have it refolded and while gesticulating with 
hand I drop the other hand to side and quietly turn packet over, so< 
when I hand party envelope from top of packet he receives an un- 
prepared one. 

This method is many times superior to any known test for down- 
right practical results. The practical performer desires, quick, abso- 
lutely certain Results with all the sleights and elaborations cut out 
and the practical, certain method well planned out, described above 
will be appreciated by the professional, and I hope, by the amateur as 
well. 

Being a practical performer, I require for my own work, right-to- 
the-point methods with certain results and I feel certain that the per- 
former, sufficiently advanced to realize the amount of pains, care, and 
experiment required to perfect the little details in the foregoing 
operation, will appreciate the value of this method in which the per- 
former is protected from every doubtful possibility. 

ADDITIONAL HINTS. 

In working at theatres or halls where the seating is regular, you 
can work several sets of two parties each, one party on each side of 
aisle, working up the aisle, but they must be at distances sufficient 
to prevent their seeing you use the extra paper in envelope gag in 
any but their own case. 

Use the cheapest white business envelopes for the best impres- 
sion and of course very hard lead pencil rather short. Your carbon 
copy will be found on both sides of the back compartment and in 
case the lower one is not clear, the reversed one can be read, 
being stronger. 

In one case where I recognized a magician of my acquaintance 
seated just behind my parties I worked the following ruse. Being 
at a banquet (of the Combined Modern Woodman Camps) I had the 
opportunity of placing a table between us while preparing the third 

18 



% party's writing- and I secretly creased one of the unprepared envelopes 
two ways and replaced it at the bottom of packet. Returning, I took 
the envelopes in the usual manner and illustrated the method of fold- 
ing, by folding one of the envelopes twice and replacing it on top, I 
dropped my hand to my side reversed packet, then, when the folding 
of papers was concluded, I passed out the creased envelope and the 
one below it but of course it was the unprepared creased envelope 
which was concealed at bottom and appearing the same was never 
suspected by my brother artist. This offers a change from the extra 
paper method. 

Through the courtesy of the publishers, of Mr. Sylvester Walters 
valuable treatise on card magic, "The Card Creations," the following 
advance publications of the explanation of the "Improved Cards My- 
sterious," "Improved Devil's Pass," and "Electra," has been permitted 
in this volume. 

THE FOURTEEN INVENTIONS IN SELF FORCING 

METHODS. 

Since the invention of first trick employing playing cards it has 
been a dream of magicians to discover or invent a means by which 
the performer might accomplish that operation known as "forcing," 
while the cards are in the hands of the spectators. Needless to say, 
such an invention surpasses in importance any accomplishment with- 
in the limits of magical possibility, for with such a means at hand, the 
magician can easily produce the most weird, startling and impenetra- 
ble mysteries possible to conceive. 

That such a feat could be accomplished and that the invention could 
be made practical, seems inconceivable. Nevertheless, its realization 

is now a fact of the firmest kind and exists in the form of a remarka- 
ble pack of cards invented by Mr. Burling Hull. It solves the great- 
est problem of the magician, for while there are methods of discover- 
ing selected cards, so ingenious as to bewilder the most alert mind, 
yet the most important operation of all, forcing, knew only the clum- 
siest methods and operations known to the whole Art of Magic and 
which could only be accomplished under cover of misdirection or 
when the spectator was taken unawares. In the hands of a master it 
was even uncertain, and though it could be passed off in case of fail- 
ure, so in fact could any magical failure, and leaves the fact that the 
means previously known to magic were the most unsatisfactoiw of 
any in the Art. 

Inventions of magnitude are never the result of accident as were 
some of the worthless efforts which have been put fortli in the past, 
but the result of earnest work, persistent study by a trained mind 
familiar with every technicality of the subject in hand. Mr. Hull, 
with his great collection of data on Card Magic, with the experience 
gained by the invention of scores of card mysteries, required four 
and a half years of work, improving and piecing together the princi- 
ples of the fourteen different methods hereafter described, to bring 
the invention to its present state of perfection. 

Before making the trick public, the inventor for two years baffled 
over a hundred of the keenest magical minds ; manipulators such as 
Theo. Bamberg, who declared it the greatest Card Mystery he had 
19 



ever seen or expected to see, Paul Valadon and W. J. Nixon (at the 
home of Mr. Nixon) Barney Ives and scores of performing magicians, 
as well as dealers such as Mr. Martinka, Clyde Powers, A. C. Gilbert 
and J. Pitre (of Mysto Co.) and men in every branch of magical 
pursuit. This trick is undoubtedly the Masterpiece of Mr. Hull's 
career as creator of card mysteries. The Improved Cards Mysteri- 
ous is the climax of magical possibility, no higher form of card mys- 
tery could be produced. It represents the greatest achievement in 
the history of Card Magic and is unquestionably the most valuable 
contribution of the day. 

(From the Instruction S'heets.) 

THE IMPROVED "CARDS MYSTERIOUS" 

Copyrighted 1909, By Burling Hull 

The absolute perfection of the principle known to the magical fra- 
ternity as "forcing," has been conceded to be, the forcing of cards from 
a pack which may be shown to have no duplicates and operated while 
actually in the hands of the audience. With this pack, this dream 
of magicians is now realized. The introduction of this pack to the 
world of mag'ic marks the dawn of a new era in card magic and opens 
new possibilities in mind-reading and card effects dependent upon 
card forcing. 

The various methods of using this pack are fully described just 
following the explanation, but an excellent individual mystery can be 
produced by previously suspending a large envelope in sig'ht of the 
audience or operating a pair of the flap spirit slates and then allowing 
a card to be selected from the pack, the name of which is discovered, 
upon a slip of paper within the envelope or written on the slates. 
The most startling, however, is that of placing a pack of cards in a 
goblet on the stage, while the performer allows audience to select 
cards from another pack while down among audience, with the 
result that a duplicate of each card selected, rises from goblet. The 
attempt of spectators to select a card to outwit the performer, is 
ludicrous in the extreme as the performer seems to toy with their 
efforts. This never fails to bring down the "House." 

PRINCIPLE : — Examination will reveal that every other card is 
alike. Still closer inspection will show that these cards are slightly 
shorter than the others. 

Effect No. 1 : — Holding the pack towards the spectators in such 
a manner that they are enabled to see the faces of the cards, slowly 
ruffle them calling attention to the cards being all different. As the 
cards to be forced are shorter than the plain cards, only the faces 
of the plain cards will show as two cards fall each time. Ask any 
spectator to put his finger in the pack and draw out a card as you 
ruffle them. No matter where he inserts his finger, it will be on one 
of the forcing cards because of the principle that two cards fall each 
time a card is released by your fingers. You can show party the 
card above and the one below that selected by him, are different, as 
they are plain cards. As the pack is arranged with two forcing cards, 
ruffle the pack slowly till you reach the middle (the edge of the middle 
card may be marked by blackening it with a pencil or the corner 

20 



Effect 2 




creased or nicked, which will appear to be a worn card and makes it 
easy to identify) then ruffle again not passing the center, which forces 
card to be chosen from lower half to force the second card ruffle quickly 
past the lower half and bringing pack towards his finger when you 
have reached the upper forcing cards, ruffling slowly. 

Effect No. 2 : — After showing cards to be all different, ask party 
to insert his penknife in pack as you hold it towards him. As knife 
approaches pack, tilt pack backwards so that knife enters pack at an 
angle which causes it to pass over the short card. The slightest pos- 
sible angle is sufficient to assure this. This is unnecessary however, 
as should knife pass under the short card you will notice this as you 
separate pack at point knife entered and instead of offering lower half 
to party to draw his card off, turn up the upper portion so party can 
see the bottom card with the request to remember it or remove and 
retain it. Should the card selected be from the upper half of pack, 
force one from the lower by No. 1 method completing the force 
of two cards. 

Effect No. 3 : — Hand pack to party in audience instructing him to 
cut pack anywheres and remove a card at the point pack is cut. No 
matter where pack is cut he is forced to cut at a forcing card as the 
fingers can only touch the long or plain cards which leaves a short 
or forcing card on top. This method creates the most marvelous 
effect when worked in connection with the Clock Dial or Slate Trick, 
or as an individual trick if party is upon stage with performer and 
selection of card is seen by all. 

Effect No. 4 : — To prove you have no connection with pack, hand 
it to one of the spectators instructing him to "ruffle" the cards and 
step over to another spectator allowing him to select a card. This 
effect also is a surprise to the party in the first row who "knows how 

21 




Arrangement oe Cards. Fig. 6. 

all those tricks are done" and is especially advised for a quietus. 

The number of variations in method, effect and purposes to which 

it may be put, are limited only by the performer's ingenuity. 

Cards with which to make these packs are obtainable at the 

Magical Studio. 

THE HOAX OF 1909. 

Having had experience with dishonest dealers who secure sam- 
ples of an inventors productions and then deliberately steal the idea 
outright and resell it, the manufacturers of this card trick prepared a 
hoax for these magical parasites. A simple and rather useless trick 
was gotten up with a name to resemble that of the genuine trick, and 
this was supplied to all dealers applying for samples. The parasites 
immediately manufactured great quantities of this trick. While these 
dishonest dealers were off in this false scent, the manufacturers of the 
original trick sold thousands of sets broad cast. 

It was some months before the trick was learned, then mad as 
hornets these parasites set about to purloin the original trick, but the 
time passed and few sales could be made. This taught the parasites 
a severe lesson and from that time on, none of Mr. Hull's productions 
have been pirated. 

In some cases the dealers were not at fault as unscrupulous parties 
sold the trick to the dealers as their own invention. 

The trick is also sold as the "Svengali Wonder" in an inferior 
form (the old corner cut card of 1908) and quality of card and 
^abroad as the ''Master Mystery." 

The inventor holds six copyrights covering all the variations 
from 1907 to the Improved form of 1909. 

THE DEVIL'S PASS AND IMPROVEMENTS, 

This trick possesses quite a little history and as the first card 
trick Mr. Hull produced, invented in fact when a boy just in his 
"teens," though even then competent juvenile entertainer, it 
bears particular significance. The trick was first hit upon by experi- 
menting with packs of long and short cards, which were then used 
to a greater extent than nowadays. The trick was thought so highly 
of by Frank Cooper, that it was carried abroad by him and presented 
to the well known English manipulator, Martin Chapender a great 
friend and correspondent of the former. Mr. Chapenders' fondness 
for the ingenious and original, induced him to design many tricks 
involving the unique principle and man}- of these tricks are described 
in his letters to Mr. Cooper (which are now in the collection of Mr. 
Hull) and one very excellent trick is described in his contribution to 
"Secrets of Magic" (Goldstone). 

22 



The trick was finally marketed by the inventor and though it is 
estimated that thousands of packs have been sold in the last six years, 
oddly enough it is still quite a profitable article in the dealer's 
stock. The trick has been considerably improved since it was first 
offered to the public. 



v**** 



D«!?S 



off* 11 % eic v £. n 






rewt 



rtof 









ment 



Brook lyn, N. Y. 
1,. nvement has been made In the 
\ a^— . CT f»ass." whi.-h makes it fully 200 per 
fill DrOVe ■ «««* more subtle and effective, yet simplifies 
uipivr w |t gn a chnd can wftrk u It ^urinates tn6 

onlv point which required even the slightest 

skill, allows more cards to be worked and 

Instantaneously (no hesitation). Effect: Several cards are 

chosen, returned, pack' sjiuffled and . handed to -performer, 

who without roverlnc pack for an Instant, produces cards 

from the air. pockets, etc.. any way desired. Complete. 75c. 

What your friends say . . 

•Chas. Bagley. Catskill. N. Y.t "Certainly, all to the 

good." B. G. Straub. Pittsburg. Pa.: "Fine and dandy. The 

beat idea I have ever run across in a prepared paok." J 

Kelly. Avon. N. Y.: ''Certainly O. K." Chas. Fenster, N, Y. 

Too cheap. Worth double price." Forty similar letters. 

Sold under the strongest guarantee possible — "Money, back 

if not worth double the price." For the benefit of those 

who already have the regular method, the- Improved cards 

will be sent for 25c (actual cost. of cards). Give number 

0( your pack In order. 



BURL/NG HULL 



JZI6 47th St. 



Brooklyn, N. Y. 



Reference to the above advertisements reproduced from the Sphinx 
Magazine, Feb. 19C8 and a later date, are of considerable interest as 
they show how the public has been duped in the last two years by 
dealers who sold and still sell the old (unimproved) method of the 
Devil's Pass at a price ($1.00) far in advance of the price at which 
the trick was sold (as proven by above cut) early in 1908, and the 
present price of the old form of the trick is far above the price at 
which the improved and later method was sold in May, 1908. There 
should be a means of preventing dealers from purloining an invention 
and selling it under another name, as the purchasers of the original 
article often buy what they presume to be a new article and find they 
have paid twice for the same article. Invariably one pays a higher 
price for an inferior quality article, as in this case, when dealing with 
these parasites. 

EFFECT ONE. 

Performer allows a card to be selected and turns his back while 
same is shown to spectators. He then has same returned to pack 
and making a pass toward his pocket, announces the name of card 
and has spectator place his hand in performer's pocket where the 
selected card is found. 

EFFECT TWO. 

Performer then has a second card selected and before taking card 
back allows spectator to tear a corner off the card. Taking the card 
he tears it in half, giving the two halves to two of the spectators and 
requests them to tear the halfs into fragments, while performer brings 
from his table a card box or other apparatus. The pieces are placed 
in the apparatus, a little alcohol poured over and ignited. The ap- 
23 







paratus is opened and the card found restored with the exception 
of the missing corner which tits exactly. 





Fig. 8 



mmmsm 



Fig. 9 

Secret : — The pack used is a special pack composed of dupli- 
cates throughout, as illustrated. Previously, the trick in the older form, 
required every other card to be a short card as in the "Cards Mys- 
terious" but to avoid this and to allow the cards to be run from hand 
to hand in the popular manner during selection of cards, that feature 
was eliminated an dthe reversible backs adopted. By referring to the 
reduced cut of the playing card back it will be noticed the points 
marked by indicator on the design, are different at one end from the 
other, so that if the card is reversed it can be noticed instantly. 

Every other card is reversed throughout the pack. Now start- 
ing with the pack so the large curl in design is uppermost, the per- 
former has a card selected. He cuts the pack just at the point where 
card was removed and places the upper portion under the other 
cards. Now glancing at the top card he notices whether the large or 
small curl of design is uppermost. 

If the large curl is in the upper left corner, he knows that the 
card on the bottom of the pack is a duplicate of the one selected, 
but if the small curl shows there, the duplicate will be found on the 
top of pack, ready to palm off in either case, or proceed with — 

EFFECT ONE. 

The performer turns pack over and glances at the card which 
he knows to be a duplicate of that selected, while instructing party 
to show card to audience when he turns his back. As performer 
turns around he slips duplicate into his coat pocket of which he has 
left the flap turned under so it will not interfere. The selected card 
is returned to pack, name announced by performer and after the proper 
passes for the effect, the duplicate is found in pocket, which as it is 
the only card in pocket is believed to be the selected card. 

EFFECT TWO. 

A card is selected and the duplicate located as before and party is 
asked to tear a corner off card. Performer watches him at a slight 
distance and quietly tears a corresponding corner (either index cor- 
ner or plain) from the duplicate which he holds. To give him time 
performer may walk to table and secure a small envelope, bring it 
forward and have party place corner therein to prevent loss. Per- 
former now takes torn card, exhibits the card, then bringing it near 
pack makes the "Bottom Change" ( which I am sure my readers are 
familiar with) and laying card crosswise on pack, tears the duplicate 
in half and hands the pieces to members of the audience to further 
destroy. This duplicate, having the same face and the torn corner, 

24 



is taken for the original as the exchange is made so naturally under 
cover of tearing card. The performer secures his card box or other 
apparatus and slips the card previously selected in same. The con- 
clusion of the trick is too obvious for further description. This 
method requires no forcing and no assistant and the free selection 
allowed, the tearing of the card in spectators hands, makes it the 
most puzzling and cleanest of operation I have ever presented 

In showing cards they should be ruffled with faces toward audi- 
ence and they will appear all different, as experiment before a mirror 
will prove. 

N. B. — The old form of the Devils' Pass is also known as "Mene 
Tekel Mystery'" ''Lanigro Pack" and "New Era Card Trick." The 
original "Improved Devil's Pass" has never been sold by other than 
the inventor and never previously explained in print. 

"ELECTRA" (The Trance Cards) 
Copyright 1909 by Burling Hull 

This Brilliant Card Effect is one which commends itself highly 
to both the' Amateur and Professional Entertainer. To the Amateur 
because of the many possibilities it presents for mind-reading effects, 
(individually and in combination) — the fact that it can be worked 
at the closest quarters and under the most difficult conditions — the 
ability to employ borrowed cards — its brilliant and mysterious effect 
the elimination of sleight-of-hand and its extreme subtlety, there being 
nothing left to betray the secret. To the Professional, as a means 
of heightening other effects by adding it to the combination, or intro- 
duced into the regular pack enables him to discover the names of all 
cards selected and returned to the pack, which prevents any possi- 
bility of mistake and furnishes a brilliant reserve effect, which may 
be worked in an emergency or as opportunity presents. 

Effect 1: — (Platform and Stage) A card is selected and returned 
to pack, cards shuffled by audience. Performer counts off any num- 
ber of cards desired by audience and hands them to one of the spec- 
tators. The party shows each one to take audience one at a time 
while the performer is blindfolded or turns his back. When the sel- 
ected card is reached the performer commands him to stop, and an- 
nounces the name of the card. 

Effect 2: — (Close and platform work) Several cards are selected, 
performer places them back in pack in different parts of the pack as 
audience dictate, he then names each card selected, correctly. 

Effect: — (For close work) Performer ruffles pack, asking party 
to place finger in pack, anywheres. This card is placed on front of 
pack where all can see it, spectators being asked to remember it. 
Pack is cut bringing card to centre of pack so performer cannot see it 
and pack handed to party to place in his pocket. Performer takes 
his hand telling him to think of card, announces the name. Party 
opens pack himself taking card out of center of pack. If spectators 
have a pack of their own, performer borrows it and repeats the trick 
often as desired. 

Effect 4: — (Stage and parlor) Cards are thoroughly shuffled by 
audience. Performer takes pack and names cards one at a time as 
he takes them from the top of the pack, fans cards out and removes 
cards from centre and naming them. 

The Principle : — The principle was first suggested to the inventor 
by the device employed by a gambler — a wide gold band ring, filed 
25 



flat and polished on one side, worn on middle finger, enabling him 
to catch the reflection of the indexes of cards in dealing etc. By 
turning- the Mat side between the fingers it became invisible. The 
idea was later introduced in a ring containing a small mirror. This 
was a crude and extremely clumsy apparatus, being always in way 
of natural movements, preventing the inside of the hand from being 
shown, and liable to detection as well as difficult to bring in angle. 
The present form is its perfection as applied to magic. The device 
is a card with a reflector on the back, of the finest silvered paper 
made. Introduced in any pack it appears but an ordinary card of 
the pack. 





Effect 1 & 3 



Effect 2 



Effect 4 



No. 1 : — Place selected card in pack getting the reflection as in 
No. 3. Palm off trick card and hand pack back to be shuffled. Ruffle 
cards and note whether card is near top or bottom. Ask how many 
cards shall be used Several numbers will be called — select one near 
25. Count off the desired number face up and note what position 
the selected card (say the Ace of Spades) lies from the end you count 
from (which should be the end the card is nearest) and hand pack 
to the spectator. Say the number is 18 from the top. Proceed as in 
description, having party hand you each card after showing it. Count 
the cards and when the 18th is reached say "Stop ! ! You are holding 
the Ace of Spades which is the card selected," whipping off blindfold. 

No. 2: — The key card is placed on the back of the pack. Ruffle 
the cards, keeping the back of pack toward you. As the cards are 
cut the reflection of the card index is seen on the silver paper. . . . 
When party finds his card, take pack and cut it at the point bringing 
card to back for repetition. Borrow a pack, place little finger under 
the key card and as you bring packs together lever the key card up 
against the borrowed pack, or introduce it by palming it off your 
pack and onto the borrowed one. 

No. 3 : — The photo explains itself. The card brought 2nd from 
the front reflects the cards as you place them in the pack where the 
spectators elect. 

No. 4: — The key card is laid on table face down. Pack of cards 
examined and shuffled by audience. Performer lays pack on top of 
key card while he rolls up sleeves and makes address. Picking up 
pack with key in front he holds pack in left hand and draws back 
key card. As each card is removed from pack the reflection is seen on 
the key card. As this card is being shown to spectators, push top card 
back with thumb so you can see the index reflected etc. etc. To re- 

26 



move cards from centre, fan out pack after slipping card to front of 
pack and as cards are drawn out of pack, pass them in front of reflec- 
tor as in photo for Effect Xo. 3. 

Xote : — The silvered paper used in this trick is not tin foil or 
silver paper such as generally sold. Neither of these will give any 
result. The paper used is an imported article which has a metalic 
coating, and is highly burnished and reflects objects like a mirror. 

THE FLY AWAY CARD TRICK. 

This trick, a variation of the well known German card trick 
found in the shops of the German dealers (a trick with which is de- 
scribed in "J. N. Hofzinser's Card Trick" page 186) is credited to 
Theo. Deland, Jr., an amateur devotee to Magic who has produced 
a number of clever puzzles and pocket novelties. What the trick 
may lack in originality it surpasses in practicability and with sleight 
improvements can be made a thoroughly practical trick ; and it is hoped 
that this is evidence that Mr. Deland's future efforts will be of much 
practical value. Mr. Deland's work has improved steadily since he 
entered the legitimate magical field, some three years experience in 
close touch with Magic having ripened his ability, and I take pleasure 
in bringing this commendable trick and its producer, before the notice 
of the magical public. 

Effect : — Four court cards and one Ace of Spades are exhibited 
in the manner illustrated (Fig. ). The cards are covered with a 
handkerchief and one of the cards, the Ace, removed. The hand- 
kerchief is fanned with the Ace ; and one of the cards produced from 
the pocket of the performer. The remaining cards are discovered in 
various places and on raising the handkerchief, the cards previously 
placed there have vanished. 

Secret : — The Ace of Spades is really a sort of pocket formed in 
the following manner. The face and the back design being printed 
upon a double card as in Fig. — . The card being creased in the 
center, A is folded against B, and bv means of the tongue C is pasted 
in at the point marked D. A small piece of card is generally inserted 
to stiffen the whole, between A and B. Another card bears the parts 
of the court cards which are merely printed as if lapped over one 
another. 

Operation : — These two cards are exhibited as illustrated and a-o- 
near as five cards. In covering- with the handkerchief the upper card 
is pushed into the pocket card, and this card (the Ace) is brought 
from under the handkerchief. The handkerchief is fanned with this 
card and performer announces that one of the cards have nassed into 
his right coat pocket. Still holding the Ace, he places his hand in 
his pocket and leaving the prepared Ace therein, brings forth a dup- 
licate unnrenared Ace and one of the court cards represented on the 
false card, which have been previously placed there. The remaining 
dunlicates of the cards believed to be under the handkerchief are 
now nroduced from various pockets, etc. where thev have been con- 
cealed before hand. The cards under the handkerchief have of course 
vanished. 

IMPROVEMENTS AND SUGGESTIONS. 

Objections to the construction of the trick brought to mv atten- 
tion by my pupils have encouraged me to devise means of perfecting 
the above trick and I offer the results of my efforts below. 

One of the objections to the trick (which is present in most 
27 



trick cards having backs which do not match) is that the design of 
the backs are that of Bicycle Cards which are rarely used by the 
amateur and never used by the professional as they are not suited 
to magical manipulation. I have therefore offered a method of pre- 
paring the card so it can be made to match the style of cards which 
the reader may now be using. 

Instead of using a double card the face card has two tongues 
(C. and C.) which are folded inward over a small piece of thin card, 
and the back card, which may be any card from the pack the reader 
is now using, is pasted to the tongues (See Fig. ). The card is 
thus made to match the deck which the performer uses for other 
tricks. 

Another mistake of the producer which would have been appar- 
ent to the more experienced inventor, is the use of the Ace of 
Spades which is conspicuously different in each make of cards, bearing 
as it does the advertisement of the manufacturer. I have corrected 
this by offering a face of the Ace of Clubs which is less noticeable. 

The false card representing four cards, is of course supplied with 
trick, or may be made if it is desired to use say Queen of Spades, Eight 
of Diamonds, Kingof Clubs, and Seven of Hearts, which I consider 
much more natural than four Queens. This may be done by cutting 
out parts of the desired cards, splitting them edgewise and pasting on 
any thin card which should then be trimmed slightly so it will pass 
within the pocket card. The cards should then be pressed with a 
hot iron till dry and it will then be superior to the best printed card. 



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MY LAST CARD MYSTERY" Burling Hull 



(Formerly known as the "Ghost Card.") 

The Weird and Startling Phenomenon, the last creation of the Master 
Mind of Mystery. Surpassing all attempts at duplication. The Supreme 
Achievement in the history of Card Magic. 

H^'This famous Mystery which many ambitious card producers have been 
trying to duplicate or imitate since 1906, is for the first time, made public (to a 
limited number only: — 500). 



WE POSITIVELY GUARANTEE 

That we have the full and complete method of the genuine "Ghost 
Card'" or "Where?" and we have the acknowledgement 
and authorization of the Inventor, as proof. 



1*1*1 




$¥ ¥ 
¥ 

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[*¥ ¥ 1 


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An actual set of "Where?" just as used. 

Combined Mind Reading and Dematerializing Mystery on three principles 
never known to Card Magic before. 

Effect: — Several entirely different and distinct cards (see illustration 
of cards used) are exhibited from which a spectator is allowed to mentally 
select one without giving the performer the slightest inkling as to identity of 
the card selected. Without covering the cards with any article, the selected 
card suddenly vanishes as completely as, if it had never existed (explaining the 
origin of the descriptive title "Ghost Card"). 

IPf'The effect is the most startling and uncanny ever created. 
The principles introduced by which it is accomplished are of an 
ingenuity so remarkable as to appear Diabolic. 

Note — An additional effect may be gained by allowing the 
spectator to actually remove the vanished card from one of 
performer's pockets, where it has flown. 

Any number of feats suitable for platform as well as close 
operation may be accomplished with the cards and this new 
system introduced. 

IMPORTANT 
This is the only vanishing Card Trick ever produced in 
which the cards used may be exhibited separately back andfront. 

POINTS TO REMEMBER 

(1) At the beginning of the trick each card may, be tested between the spec- 
tators to prove that each card is separate. (2) At the conclusion each card is 
laid upon table face up, several inches apart from each other. Cards may be 
picked up, backs exhibited and spectator may feel each card to prove that there 
are no two cards together. (3) The principles introduced are unlike any ever 
known to Card Magic in past. 

U^Cards are waterproof, being highly finished with a waterproof coating 
after printing. Cards may be washed when soiled and will last forever. Cards 
are of Finest Treasury Bristol, cannot crack, may be bent double and will spring 
back into shape as good as ever. Cards cost us 3 l / 2 times that of any other 
Trick Cards on the market to produce. 

Complete Set of beautifully finished cards and everything required, large 14x10 

illustrated sheet of instructions (the most elaborate ever 

furnished with a card trick). 

PRICE - - - 50 cents ENGLAND - - - 2/2 d 





ANNOUNCEMENT 

\WE beg to announce that as a concession to 
magicians residing outside of New York' 
Mr. Burling Hull, and his assistants will con- 
tinue his instruction in Mystery Art during the 
Summer months. This is an exceptional opportunity 
for lovers of magic, to visit New York during the 
vacation season and combine pleasure and profit in 
the pursuit of the most fascinating of Arts. 

Private and class lessons may be had at exception- 
ally reasonable rates at this season, because of the 
large number that have taken advantage of this plan. 

Write, letting us know when you will be in New 
York— we shall be pleased to make your acquaintance. 

The BURLING HULL STUDIO 



Brooklyn, N Y. 



'Phone Connection 





Foremost Magical Instructor 
Inventor and Magical Designer 
Entertainer to Society 
Magical Literatist 



"Burling Gilbert Gait Hull, the prominent Magical Creator, was 
the first to develope a thoroughly practical series of courses in Mag- 
ical Instruction and establish this work on a permanent basis. 
Hithertofore, many dealers and performers considered the prospective 
pupil an easy means of revenue, giving him but little instruction and 
advising the purchase of apparatus from which the "Instructor," re- 
ceived a commission. 

"Mr. Burling Hull has made a separate and distinct study of the 
peculiarities of various shapes of hands and the best methods to 
apply to assist the student. He recommends special the departures 
of Magic for which the pupil is particularly adapted. He has de- 
vised simple exercises to relieve cramped palm, rigid joints, etc. 

"He has made a special study of what he terms "Manipulative 
Art," or grace of manual movement, in Magic. In his complete 
course he acquaints his pupils with the principles of Stagecraft, em- 
bracing the rudiments of Dramatic Art and Elocution. 

"Mr. Burling Hull numbers many pupils prominent in Social, 
Business and Political Circles, entirely aside from his students in the 
Theatrical Profession. He instructs more pupils (many of whom 
come from some distance) per annum, than all the so-called "Schools" 
combined, and has practically no competitors in bonafide Magical 
Instruction to-day. 

"As a Magical Inventor and Designer, Mr. Burling Hull has de- 
signed the features of several prominent acts and many pieces of ap- 
paratus in general use to-day — though he is better known through his 
Series of Forty "Copyrig'ht Card Creations" and smaller specialities, 
which are used to-day on every continent. 

"Burling Hull is known both in and out of Magic as a literatist of 
exceptional ability, but particularly as a virile and authoritive magi- 
cal writer, his recent works on Manipulation having attained the 
largest circulation ever known for writings of this nature." 

The Press. 



SEP 13 1911 



Burling Hull's Bulletin 

OF 

"Latest Advanced Sleights and Improved Tricks" 



CONTAINING: 

The very latest tricks in pure Sleight-of-Hand, improved and per- 
fected so that the difficult moves are eliminated. 

IWMany sadly mistaken magicians imagine that any new move- 
ment is a sleight, no matter how difficult to execute. 

Burling Hull is famous as an instructor, because he devises origi- 
nal sleights so ingenious that they are invisible and deceive the eye, 
forming a perfect optical illusion, and therefore are not difficult to 
execute. 

"Any clown can devise a difficult trick, but it takes a 
Master to devise a trick so clever, so subtle, so ingenious, 
that it becomes easv to execute." 



PARTIAL LIST OF CONTENTS. 

1. The Handkerchief production without apparatus or palming. 

2. Another method of Handkerchief production. 

3. New False Shuffle executed by audience. 

4. The Super-Supreme Force. Perfected at last ! ! 

5. Startling impromptu trick with borrowed cards, easy for 
close work. This is so simple to perform that Mr. Hull teaches it in 
first lesson to his pupils, yet it baffles the eye. 

6. Burling Hull's Climax Color Change. The only genuine 
change on a new principle. First time explained. 

7. Wonder Pass (not really a pass) Cards placed in center of 
pack and elastic band placed around pack, card appears at any num- 
ber called for, everything operated slowly. 

8. Various new tricks on the "Wonder Pass" principle. 



'Any one of the above tricks are worth more than the price 
of the book. 

Handsomely illustrated by many photographs. Ready in August. 
Price 50c. 

Drop a postal to your dealer, requesting him to notify you soon 
as ready. Write to-day. 



iff 



One copy del. to Cat. Div. 



srr 14 19" 



n 



*7RT 



zlftf 



LIBRARY OF CONGRESS 



020 237 543 1 




This volume 
contains 



full and complete 

explanations 

of the 




LATEST CARD MYSTERIES 
AND SPIRIT TRICKS 



THE CATALOGUED VALUE tSta™ $30.00 

INCLUDING 

The famous Sealed Letter Test, the Flyaway Card Trick; 
the Thayer Card Rising Tray, the Devil's Pass and Improve- 
ments, the Burling Hull Improved Letter Test, the Goblin Aces, 
Monte Cristo Cards, Photo Sprite, Houdins Dream, Cards 
Mysterious and Improvements, Satan's Secret, Novel Card 
Discovery, Electra, Trance Cards and others. 

NEVER BEFORE PUBLISHED 

with full directions for 
CONSTRUCTING ALL FAKE CARDS and TRICK PACKS 



ONLY 500 COPIES ,° F Jn Hl l^L ISSUED 



SEALED VOLUME 



Distributors : 

MARTINKA & CO., New York 



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